Yesterday Snarky Puppy ended their ten-week tour of the world, showcasing Grammy-winning album ‘Culcha Vulcha’ and playing in three different line-ups along the way. I had the chance to watch two of them in action. And while the setlist and group partly remained the same, I left the Muziekgebouw in Eindhoven with a entirely different feeling.
The circumstances of both shows could’nt have been further apart. The AB in Brussels is a revered rock hall in the center of Europe’s capital. A plain rectangular room, mostly for a standing crowd, painted bright red – the room, not the audience. There’s very little space outside of the actual concert hall, which gives way to a busy, electrifying atmosphere that reflects the vibrant metropole around the venue.
The energy that floats through the Muziekgebouw in Eindhoven is more easy-going, more relaxed. The audience is waiting in line to get their tickets scanned – imagine that!
Situated in the middle of the Netherlands fifth-largest city, the Muziekgebouw is a rather luxurious venue, comprising a grand audiophile auditorium (mainly for jazz and classical) and a wealth of plush surroundings. While the audience in Brussels (9 May 2017) sang along to tunes and ooh’d and aah’d their way through every solo, the Eindhoven crowd (7 June 2017) seemed to be more focused on hearing every detail.
The difference is exemplary of the two hemispheres of Snarky’s universe: classy jazz and world music themes coupled with rock, funk and dance vibes. Melodic, harmonic and improvisational subtleties played in ecstacy-inducing manner.
Sonic hurricanes, then and now
With keys player Bill Laurance replaced by Bobby Sparks, guitarist Chris McQueen replaced by Bob Lanzetti, percussionist Marcelo Woloski (a lot of feeling) replaced by Nate Werth (a lot of power), a reduced horns section (sax player Bob Reynolds left) and Zack Brock on violin, we got introduced to a ‘new breed’.
I didn’t really have to analyze both shows – one month and two days apart from each other – in order to notice what’s changed. I listened a lot to the FLAC recording of the Brussels concert, so variations, both subtle and radical, revealed themselves right away. Let’s mention the big ones:
- Chris McQueen played a wonderful rootsy guitar solo on Grown Folks in the AB. While in Eindhoven, Bob Lanzetti spiced things up with a big fat phaser effect. He also took the first solo of the night: a spiky, heavily harmonized improv on GØ.
- Solo interplay between keyboardists Justin Stanton and Bobby Sparks was limited in Eindhoven, unlike the chemistry between Stanton and Bill Laurance in Brussels. That’s just an observation. Both musicians played blistering solo’s, with Stanton ripping What About Me? to pieces and Bobby Sparks delivering the highlight of the evening with his volcanic Hammond-cum-Moog exploration on Gemini. Sparks later Mooged his way through fan favourite Thing of Gold, the oldest song on the setlist.
- Percussion had a predominantly supporting role in the AB, while Nate Werth and Larnell Lewis brought things to boiling point during Tio Macaco in Eindhoven. Great to hear that song, along with other songs that didn’t make the stage in Brussels: Semente, Thing of Gold and Shofukan.
- Apparantly, the Brazilian-inspired Semente (which I mispronounced until Michael League announced it correctly als ‘Semenchi’) got a bass solo by Michael League for the first time ever.
- The atmosphere of GØ changed dramatically when Zack Brock graced it with a near-perfect violin solo.
Who did I forget? Sax player Chris Bullock (see picture) and Mike ‘Maz’ Maher, of course. While they didn’t step into the spotlight like they did in Brussels, they played multiple imaginative solo’s. Maz is a great at playing fluid lines. Bullock specializes in more angular improvisation, taking small motifs and developing them into sonic hurricanes that make your hairline recede.
Close to tears
Being the last show of a ten-week worldwide tour, there was a sense of friendship and nostalgia in the air. Magda Giannikou (see picture), the brilliant Greek singer of GroundUP’s Banda Magda who was joined by the Snarky crew for the opening set of the evening, was both overjoyed and close to tears. During one of the solo’s Chris Bullock and Justin Stanton fist-bumped casually at stage left.
Addressing the audience in between songs, Michael League seemed a bit tired (no wonder after such a mammoth run of show). After the show, he told me he was plagued by a sore throat. But that didn’t prevent him from delivering a passionate speech about the importance of supporting artists (not just streaming their music) – I previously transcribed his similar call to the Brussels crowd.
Over the last month, attending two very different shows and talking extensively to Bill Laurance (interview coming soon!), I enjoyed the opportunity to have an exceptional look into the DNA of this very special band: the inner dynamics, the brotherhood, the adventurous spirit and endless versatility, … What once started as Snarky Puppy is now a full-grown Danish dog. And still our favourite pet.